EXHIBITION INFO: HAPPY TIDE WILL FLOOD AGAIN, 5 FLORENCE STREET

Happy Tide Will Flood Again
25 June to 9 July 2022
Tue – Sat, 11:00-17:00, booking recommended
5 Florence Street, Glasgow, G5 0YX

For full visitor and access information, or to book your visit, please see here.

Featuring work from 2020 MFA graduates of The Glasgow School of Art, Happy Tide Will Flood Again includes: new drawing, painting and sculpture from Ragini Chawla; new film and objects by Fionn Duffy; a new total installation by Ayla Dmyterko; new painting work by Sooun Kim; new drawings and photographs by Ali Lotz; new installation by Lillian Ross-Millard; a video work by NNNull; new sculpture from Emilie Peyre Smith; new sculpture from Ned Pooler; a new installation from Rodrigo Nava Ramírez; new video installation by José Carlos Rivera; a new film by Wei Zhang; and paintings and a conceptual art piece by Lars Schmidt who graduated in 2020 from the MLitt Fine Art Practice (Performance pathway).

Exhibition Preview on Friday 24 June 2022. For more information or to book see here.


Artist Bios

Ragini Chawla, Untitled, 2020 

Ragini Chawla is an artist from Delhi, currently based in Glasgow. After completing a bachelor’s in visual arts from the faculty of fine arts at the Maharaja Sayajirao University, Vadodara in 2018 she moved to Glasgow to study Master of Fine Art at The Glasgow School of Art in 2020. 

She is interested in the formalistic use of different tools and mediums encompassing painting, sculpting, and publications and has recently taken an interest in web coding and design. At the crux of these different expressions lies her intention to make narratives and visuals around structures of power inherent in gendered roles in family and surroundings around her. Her recent paintings and sculptures closely look at the women in her family and the knowledge they’ve parted on through personal stories. 

Chawla has been supported by and awarded an honorary graduate fellowship by Glasgow Sculpture Studio in 2020. She has recently shown work in India and Glasgow and her publications can be found in many different institutions including Asia Art Archive in Hong Kong. 

Ayla Dmyterko, Solastalgic Sololoquy, video still, 2020
Solastalgic Sololoquy (2020) 05:27 minutes: Ukrainian Cultural Centre in Regina, Saskatchewan on Treaty 4, the territories of the nêhiyawak (Cree), Anihšināpēk (Saulteaux), Dakota, Lakota, and Nakoda, as well as the homeland of the Métis/Michif Nation.  

Ayla Dmyterko’s works are anachronisms – she warps time to seek interstices where we can dream ourselves as one another. Echoing the fragmentary and porous nature of diasporic imagination, her interdisciplinary installations weave together moving image, dance, painting, sculpture, textiles and texts. Poetics of precarity and dissonance expose how traditions are in flux amidst generational slippage. Oscillating between reverence and regeneration, she examines spectres of eternal recurrence to understand ways that images and artists are mediums. Upon completing her MFA at GSA, she was awarded the Graduate Fellowship through the Glasgow Sculpture Studios. She has exhibited her work internationally at VITRINE, Basel & London; Zalucky Contemporary, Toronto; Alchemy Film Festival, Hawick; CCA Glasgow; Lunchtime Gallery, Glasgow; Art Gallery of Regina; Hague Gallery, Regina; a Cinema, Milwaukee; Regina Performing Arts Centre; MacKenzie Art Gallery, Regina; Projet Pangée, Montréal; Gallery Aux Vues, Montréal. She looks forward to a forthcoming screening with Mourning School, Stockholm, Sweden; a residency at the Inshriach Bothy Residency in the Cairngorms and her solo exhibition with Projet Pangée, Montréal. 

For Happy Tide Will Flood Again, Dmyterko exhibits Warmings in the Weft is a total installation composed of large-scale oil paintings, latent symbols, stoneware hollyhocks, hempcrete trypillian forms, USSR-era matryoshka dolls, cross-century regalia, cross-stitched textiles and a para-fictional text. In a separate space, moving image work Solastalgic Soliloquy subverts dance choreography to question ways that traditions exist amidst appropriation, assimilation; removed from congregation and a natural environment. Reactivating and re-embodying cultural memory, this body of work addresses tensions of waiting, anxieties of complicity, and delusions that emerge within these states. Moments before the curtain rises, the work whispers – are we ever really ready? 

Dmyterko is on Instagram @ayla.dmyterko

Fionn Duffy, The Nutriment Did Change The Kind, 2020-2022

Fionn Duffy

With an interest in human folly and its slippery definitions*, Duffy responds to the material consequences of modern mythologies surrounding labour and infrastructure, landscape and capital. She uses objects, video and text to instigate spiralling macro-narratives that explore ethical and ecological concerns converging in porous zones of contact between bodies: chemical, mineral, cultural and historic. 

Process-led and embracing autodidactic conglomerations of knowledge, Duffy attends to sympoetic methodologies to inform her practice; often working collaboratively with other artists, enthusiasts, researchers and specialists, be they human or otherwise. 

*from early 13th century Middle English (from Old French folie) “foolish behaviour/wickedness/madness”, but also, in the 12th century meaning “delight”. 

For Happy Tide Will Flood Again, Duffy exhibits A Mineral Dance: Or How To Become Glass (2021 – 2022), a research project exploring the 18th Century Kelping Industry, which signalled the dissolution of tenant-landlord relations based on tithes and the emergence of capital-based land holdings, and the 20th century Nuclear Industry and their legacies on our coastal regions through an attempt to make glass out of seaweed and sand. The significance of glass as a material stems from both its role in the Kelping Industry, where seaweed ash was transported to industrial centres to be used in glassmaking, while vitrification is one method used to store radioactive waste in the nuclear industry. 

Gathering seaweed and sand and processing these slowly by hand, opens up questions surrounding the energy and labour involved in creating such a ubiquitous material; the material legacies of historic and contemporary industries, the porous boundaries between human and mineral processes and the persistence of commodity chains which have shaped our coastal regions for centuries.  

The project has so far resulted in a 3-channel video documenting the process of making glass, woven together with research surrounding the archaeological and geological legacies of human industries on the landscape. Much of the glass has been formed into beads and gifted to those involved in the process, acting as a communally owned artwork, and Duffy is currently in the process of creating glazes for ceramics using the waste material from the glass-making process. 

Duffy is on Instagram @fionn000

Sooun Kim, Born Beneath video still, 2021

Sooun Kim is a multidisciplinary visual artist working through music, painting and sculpture, more recently expanding his visual language to include video and installation. He is interested in hybrid cultures that iterate from the effects of post-colonialism and cultural imperialism. His work, Yellow Fever (2019), marked the beginning of his auto-ethnographic journey, where he collected his grandfather’s biography alongside records of historical figures to recover his personal cultural identity. Further interested in popular culture, he includes audio-visual reflections of his contemporary being as a South-Korean migrant where the past and present collide. Consciously unpredictable, Kim uses image and sound to play with viewer expectations by seducing and repulsing – genre bending to create an undefinable hybrid. 

Previous work includes, Born Beneath, 2021, 07:00 minutes. Born Beneath is an experimental music video and short film that utilizes mythological storytelling to explore hybridized Korean cultural identity. Sooun Kim uses multivalent footage and audio influenced by traditional Korean music, contemporary electronic music and rap to demonstrate the ways in which cultural imperialism, the long-term influence of the Korean War and Japanese colonial era has influenced his generation. His use of footage gathered from multiple sources shows the birth of a new cultural identity. An identity that is acquired through the process of exploring cultural hybridity, formed amidst instability. 

Kim is on Instagram on @low_keykim

Ali Lotz, Untitled (Lismore Pond), 2021 

Ali Lotz (b. 1994, Butler, PA, USA) is an interdisciplinary artist currently living in Glasgow. Her work is interested in the relationships between fandom, fantasy, music and the working class. Works can take the form of pencil drawings, film, photos, textiles, and screenprints, but are often united through installation. Ali also hosts a regular radio show through Clydebuilt.

Included in Happy Tide Will Flood Again is Lotz’ If I Leave Here Tomorrow, Would You Still Remember Me? 2022. Comprised of graphite drawings and silver gelatin panoramic prints, the installation takes its name from the canonical lyrics of ‘Free Bird’. Invoking both nostalgia and fantasy the images and text lead the viewer away from the known world of ‘Free Bird’ to somewhere unforeseen.

Lotz is on Instagram @nofear_official

NNNull, Limerent:harp, 2022, Null

NNNull undertakes a periodic and cyclical fluidity among various genders. Their work stages the courses of an in-constant shifting and growth of a mutable subject. An uncategorized Nth gender thwarting the positivist tools of gender delineations. They are based-adrift in Glasgow and merge moving image, sound, and installation as material outfits that frame their transitory presence.  

NNNull exhibits, Limerence of a Null, a ruminative dialogue in images between the male psyche and the female psyche of an a-gender body, who has fallen into a state of limerence with a binary body, triggers the discovery of unknown assault trauma unravelling through lucid dreaming and punch images, recalling the original causes while generating a swirling therapy process. This piece is, at this point, unfinished and a partial composition of scenes of a five-chapter video work.

Ned Pooler, Soft Rupture, 2020

Ned Pooler (b. 1992 Birmingham, UK) graduated from The Glasgow School of Art in 2020 with an MA in Fine Art and The University of Leeds in 2014 with a BA (Hons) in Fine Art. Between 2011-2018 he co-ran the nomadic art collective SEIZE Projects, working with early-mid career artists and exhibiting work with art spaces across England including &Model Gallery, The Royal Standard and Stryx Gallery. After studying at GSA he completed an extended residency and solo show entitled ‘Soft Rupture’ at CT20, Folkestone, UK. In 2021 his work was selected for the 195th Annual Exhibition at The Royal Scottish Academy.  

Two new sculptural installations have been created for this exhibition. ‘well, to tell you the truth I haven’t been quite myself lately’ is an inflatable AK-47 attempting to, but failing to maintain its rigidity, let alone fire the loaded velvet bullet. ‘I won’t forget, I’ll just walk slow’ are a set of glass snake fangs biting into the gallery space. Both works and other supporting works by Ned Pooler use absurdity, dark humour and anthropomorphic gesture to discuss queerness, mental health and the trials of growing up. Looking to animation physics, he imagines how things might behave: when freed from the static confines of material reality, solid objects can melt, convulse, swell and droop with emotion.

Pooler is on Instagram @nedpooler

Cómo reencarnar al Templo Mayor usando Blender, video still, 2022 (work in progress)

Rodrigo Nava Ramírez (he/him) is an artist and computer programmer from Mexico City. Throughout his work, Rodrigo seeks to reframe digital technologies—such as the web, Augmented Reality, 3D modelling, data systems, machine learning and biometrics—as tools to explore spaces that are materially and temporally restricted, allowing alternative spaces for representation capable of escaping western logic and structures. The emancipation of technology as a true decolonizing act of resistance. 

Severed Words (Los Ocho-Presagios) The eight badly omens are a series of bad happenings that the Mexica affirmed seeing right before the Spanish arrival, marking the return of Quetzalcoatl and the end of the Fifth Sun. The beginning of a new cycle of birth, death and reincarnation. 
 
Through the website http://ocho-presagios.mx/ this narrative is told, but a word gets removed through every visit and “gifted” to the visitor as a 3D object—except if that visit comes from Mexico. It uses cyberspace to mimic the act of looting that took place during the Spanish conquest. 

In Happy Tides Will Flood Again, Nava Ramírez exhibits “Severed Words (Los Ocho-Presagios)” an installation that acts as a museum, displaying a collection of three objects taken from the website. A reflection on the colonial role of museums as institutions of memory.

Nava Ramírez is on Instagram @rodrigonavaramirez

Jose Carlos Rivera, Walking 100 Miles, De Punta a Punta, 2022

Jose Carlos Rivera, based in Valencia, Spain, creates installations from durational re-actions, going through the rhythms of different hybrid beings and phenomena. His current research explores the different relationships between the Post-Digital Era, Posthuman thought, durational practice and New Materialisms. 

Jose has exhibited work internationally including: Yellowstone Art Museum (MT, USA), Arts Research Collaborative (MA, USA), Tabacalera Promoción del Arte (Madrid, Spain) and NMAC Contemporary Art Foundation (Cadiz, Spain). 

For Happy Tide Will Flood Again, Rivera exhibits Walking 1000 Miles. De Punta a Punta, a video installation based on a walk from the South to the North of the UK. Experiencing the country and pandemic landscape in an active manner. Entangled with climate, land, people and politics.

Rivera is on Instagram @keepitbowing

Lillian Ross-Millard is a Canadian video and performance artist based in Scotland. Through methods adapted from her background in experimental theatre, she conducts physical research on the contemporary body and its behavioural phenomena. While completing her degree in Contemporary Studies and Theatre Studies at the University of King’s College in Halifax, Lillian was a member of Wheelwright Theatre and trained under Zuppa Theatre Co. In 2016, she co-directed an award-winning experimental film, Heart & Soul: S10 S12, at which point her practice shifted towards moving image work. She is currently developing a participatory work to be hosted at Paragon Studios in Belfast this fall.  

Autobiology, exhibited in Happy Tide Will Flood Again, responds to cultural paradigms surrounding illness and identity from the vantage point of someone with a chronic immune disorder. Using a customised graphic font, Ross-Millard considers the entanglement of therapeutic applications of language and illness as metaphor. She engages in a kind of self-diagnosis, testing the ways in which language mediates and medicates her experience of illness. 

Lillian Ross-Millard, Autobiology, 2022

Lars Schmidt, Cultural Revolutionaries, 2009-ongoing

Lars Schmidt, multidisciplinary artist, natural thinker, facilitator/curator

His work explores a wide range of cultural and spiritual matters, often opening inter- and transdisciplinary spaces, in order to support the emergence of a new narrative.
He also creates gardens.
Formative years in New York City and Berlin.
Background and studies in fine and performing arts, somatics, photography and film, anthropology and ecology.
Later life and work on organic farms in France and Italy, and studies of applied ecological design (Diploma of Applied Permaculture Design).
Regular periods of retreated life in mountain regions of France and Norway.
Besides exploring the creative process in various artforms, he has curated interdisciplinary projects linking the arts and improvisation with ecological and spiritual understanding, and has facilitated workshops in the US, Latin America and Europe.

He exhibits the painting series The Illiterate Pond, By-products of Presence, and Cultural Revolutionaries, a conceptual work inspired by the idea of morphic resonance and memes.

Schmidt is on Instagram @larsschmidtorg

Émilie Peyre Smith, P.S. in.vent.ory 2019.01.17, 2019

Émilie Peyre Smith (b. Delaware, 1985) lives and works in Glasgow as a multidisciplinary artist, working predominantly in sculpture. 

Through forceful tinkering within material potential Émilie antagonises the susceptibility of commoplace place systems and utilitatian materials. Drawing parallels between these and the continual automation of the human experience to create anxious, uneasy works. Émilie studied Chemistry at Edinburgh University followed by Fine Art at Goldsmiths College London, before graduating from the MFA at The Glasgow School of Art.

Wei Zhang, In the penumbra, the strange wave, video still, 2022

Wei Zhang (b. 1991, China) currently lives and works in Glasgow, Scotland. Zhang is a filmmaker and visual artist working between moving images, performance, and installation.

The topics in Zhang’s work for Happy Tide Will Flood Again, range from queer theory and posthumanism fused with psychic trauma of the queer experience, the mutated body, and the imagination of the potentials of NBIC and other advanced technologies. Zhang views the metamorphosised or modified post-human body with its assigned meanings through the perspective of symbolic anthropology rather than the discussion of human enhancement ethics. Inspired by Catherine Malabou’s plasticity, Hegelian’ plastic’ and Heideggerian’ change,’ ‘transformation’ and ‘metamorphosis,’ Zhang tries to depict the relationship between queer body and post-human body and their symbolic meanings. Although Zhang fancies jumping back and forth between the illusioned future and the traumatic memory, Zhang’s pieces present an eagerness to be saved from the undissolvable melancholy in the immanent reality. Zhang’s work also shows the deep thinking about life’s fragility, vulnerability, and plasticity.

Zhang is on Instagram @weizhangpictures

Art Making for Earthly Survival – the workshop results: Documentation

Art Making for Earthly Survival - the workshop results, Reid Gallery, 2022

Art Making for Earthly Survival – the workshop results
A pop up exhibition following the Close of Play: Art Making for Earthly Survival workshop series
28 & 29 April 2022
Reid Gallery, The Glasgow School of Art

Documentation on Flickr of the exhibition curated by Rachy McEwan featuring work by workshop participants following the Close of Play workshop series curated by Rachy McEwan and supported by GSA Sustainability, GSA Exhibitions and Box Hub.

Photos by Raya Gray

For more information about the exhibition and workshop series, and to read the project zine, please see Rachy McEwan’s website here.

Close of Play: Collecting the Climate Emergency Online Event Resources

Close Of Play: Collecting the Climate Emergency: Process and Practice, 12pm to 1.30pm, 22 April 2022

Dear audience member, welcome to this Close of Play event (22.04.2022)

Raise questions, share thoughts, and commit to personal and professional climate actions using this Padlet

Download two pdfs below which collate information about the Archive and Museum sector’s response to the climate emergency and have been developed by the Collections Action Group: Intersectional Environmentalism Working Group at UAL.

Download: Wider Archive Sector Response

Download: Wider Museum Sector Response

A Remix of Damage: Documentation

A Remix of Damage
Strata Collective
26th February to 12th March 2022
Reid Gallery, The Glasgow School of Art

Documentation on Flickr of the exhibition featuring work by the Strata Collective: Alexander Anderson, Penny Anderson, Abbey Corbin, Tom Graystone, Julia Hoogkamer, Russell McGovern, Yena Park, and Alice Zonca.

Penny Anderson, Enargeia Arcade
Photos Alan McAteer and Alan Dimmick

See here for more information about the exhibition.

EXHIBITION INFO: A Remix of Damage, Strata Collective, Reid Gallery

Image credit: Abbey Corbin

A Remix of Damage, Strata Collective, 26 February to 12 March 2022, Mon – Sat, 10:00-16:30

Reid Gallery, The Reid Building, The Glasgow School of Art, booking required

For full visitor and access information, or to book your visit, please see here.

Featuring work by the Strata Collective: Alexander Anderson, Penny Anderson, Abbey Corbin, Tom Graystone, Julia Hoogkamer, Russell McGovern, Yena Park, and Alice Zonca.

A Remix of Damage includes, ‘In the Depths of Our Ocean’ by Abbey Corbin exploring the effect of toxic materials on oceanic life-forms, environments and their ecologies; sculpture from South Korean artist Yena Park whose ‘Project: Post-Future Ground’ (ongoing since 2020), is a collection of low value found objects and materials that she has reconfigured and modified to question our relationship with the artificial material world; photographic and moving images by artist Tom Graystone taken on Skye that have been coded into textile pieces and animated vignettes; adapted ready-made sculpture by Penny Anderson whose work ‘Enargeia Arcade’ presents the possessions of the fictional Enargeia Crow – the notorious, ruthless and eccentric billionaire who died broken and penniless; a diorama by artist Alice Zonca who composes environments that house her sculptures; two new works by Julia Hoogkamer themed around the human body, science, technology and nature; work in response to the Sonoran landscape by Alexander Anderson who is based in Arizona; and new work from Glasgow-based Russell McGovern exploring what happens to an object and our relationship with it as it is gradually atomised.


Artists Bios (listed in order of appearance in A Remix of Damage, Reid Gallery)

Abbey Corbin, In the Depths of Our Oceans, Video Still, 2021

Abbey Corbin is an artist based in York, exploring science fiction, material realities and folklore at the intersection of art and ecology. She is currently working on a new series of works ‘In The Depths Of Our Ocean’ imagining the fallout of synthetic materials in our aquatic landscape. Abbey uses sculpture, sound, video, photography and drawing to explore what might grow out of our synthetic waste and form the uncanny ecologies of our future. @abbeycorbin

Yena Park, Project: Post-Future Ground, 2020

Yena Park is based in South Korea and explores the relationship between the human body and man-made objects by going back and forth between the material and digital world. Having faith in a cycle, she reuses objects from within our artificial civilization which have lost their original uses and values, reconfiguring and modifying them to create a reflective landscape that has a possibility of existence, questioning how we relate to the artificial material world around us as material existence. In Nov 2021 she had her second solo exhibition, ‘Overlapping World’ in Gimpo, South Korea. She has been working on the ‘Project: Post-Future Ground’ since 2020 and the outbreak of the start of the Covid-19 pandemic. @yenaprk

Tom Graystone, ASCea, 2021

Tom Graystone lives and works in Glasgow. They are an artist and researcher, excited by repetitive forms of making, working with quilting and knitting, in dialogue with digital making and moving image. They are interested in digitally mirroring and recreating, the disorientation that follows, and how that can alter the language of a space. @tomtompotatotoe

Penny Anderson, Tree of Life, 2020

Penny Anderson creates installations made primarily from ready-made objects (toys, furniture, dolls house accessories, self-assembly kits) architectural figures along with text (laser cut acrylic, engraved mirrors and hand-sewn embroidery). Based in Glasgow, Penny has previously shown work at Glasgow’s GOMA, Bury Art Museum’s Text Art Festival, Tramway, as part of GI (Glasgow International) and at New Glasgow Society and Transmission. Penny is interested in working conditions and practices and her work on display was created during her time at the GSA.

Alex Anderson, Galley Sock, 2020

Alex Anderson. Born in Kansas, Alex’s interests centre at the intersection of sculptural art practices, investigations of landscapes in relation to memory, contemporary climate science, classic literature, and phenomenology. His continued effort he views as one which draws his studies and experiences into a focus motivated by expanding this practice through a study of landscapes within classical literature, now focusing on Homer’s Odyssey and the Greek concept of nostos (νόστος).: He wishes to explore the grief of homecoming, in the sense of the desire for home, the arduousness of the journey, and the bittersweetness felt at actually arriving. @alexsculpts

Russell McGovern, Entropy, 2022

Russell McGovern is based in Glasgow and describes his sculpture-based practice as “attempts to investigate the anthropocentric questions ‘How did we get here?’ and ‘Where are we going?’” Recent works have been inspired by the prehistoric cave art at Lascaux, France and the Golden Record on the Voyager 1 spacecraft. He is currently working on a public art commission in the east end of Glasgow. @russell.mcgovern

Julia Hoogkamer, Techtonic Platelets, 2022

Julia Hoogkamer is a Dutch artist now based in Glasgow who is fascinated by the inner workings of the human body. She uses a range of mediums in her work from video and sound, to ready-mades and ceramics, manipulating her materials to play with light and reveal hidden perspectives.

Alice Zonca, Oïde, 2021

Alice Zonca is an artist based in Paris. She describes her work process as “Isolate, extract, recompose”. Her sculptures borrow their vocabulary of form from architecture and everyday objects. By inscribing them in different systems of representation (the model, the game board, the diorama) she gives them an aesthetic and utilitarian ambiguity. Her use of materials from domestic, decorative and functional contexts creates different strata in her installations.


The Strata Collective was established in 2020 at the start of the Covid-19 pandemic. Over the past two years, eight artists from the MLitt Sculpture Pathway at The Glasgow School of Art have supported each other and worked together to find innovative and imaginative ways to continue their practice during and post pandemic. This exhibition is a mix of new work and work created while studying at the GSA, using casting, carving, sound, ceramics, woodworking, textiles, and digital methods, as well as adapted ready-mades. It illustrates the strength of their collective approach, and the high-level creative output they still managed to achieve during lockdown.

In 2021, with support from Creative Scotland, the Strata Collective exhibited for the first time since graduating in August 2020 at the New Glasgow Society. The Collective’s next show Expanse will open at the Pipe Factory in Glasgow later in 2022.

A Remix of Damage is supported by The Glasgow School of Art as part of the School’s commitment to supporting 2020 graduates with physical shows once COVID restrictions allowed.

With thanks to Innis & Gunn and citizenM for their support.

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